Can Moiré be completely removed in Lightroom?

As you may have noticed, I used the word “reduce” instead of “remove” in the header of this article. That’s because the moiré pattern often cannot be completely eliminated with a non-destructive editing application like Lightroom (except for mild cases of moiré), especially when moire damages the texture. Photographs with very visible and large moiré patterns in the Luminance Channel can only be completely fixed in Photoshop, which is a cumbersome and time-consuming process. In many cases, you have to sacrifice details to remove moiré completely. This is the reason why I have been recommending most of our readers to buy the regular version of the Nikon D800 instead of the D800E. The latter is a specialized tool for dedicated landscape and macro photographers that want to get the best out of their equipment. The last thing you want is introduce another step to your workflow in order to clean up moiré, just because you picked up the wrong camera.

Please note that the below instructions will only work with Lightroom 4. The previous versions of Lightroom do not have any moire reduction tools. Please also note that the below tool works best with the original RAW file.

Using Adjustment Brush to Reduce Moiré in Lightroom 4

Let’s get started with the same jacket image I presented in “what is moiré” article. I decided to use this image, because it has a very strong moiré pattern with a yellow and green rainbow discolorations. This type of moiré is very hard to fix in post-processing and it requires use of Adobe Photoshop to completely get rid of it. Here is the image we will be working on:

(Image courtesy of photo.net)

Once you have the photo with moiré imported into Lightroom, go to Develop module (press the “D” key on your keyboard), then click the “Adjustment Brush” (or press the “K” key):

Next, slide “Moiré” all the way to 100. Also slide the exposure to +1 or more. The reason why I recommend adjusting the exposure, is because once you start using the adjustment brush, you will not clearly see the affected area. If the brush changes exposure on what you are painting, you can see exactly what you painted over. If the adjustment brush is too small, you can make it bigger by sliding “Size” under “Brush” to a bigger value or by pressing the “]” character on your keyboard (“[” to make it smaller). Here is the area I covered with the adjustment brush:

Once you make sure that all affected areas with visible moiré are covered, change “Exposure” back to “0″. Here is a before and after (move the mouse over to see after):

As you can see, the yellow and green rainbow colors have been removed from the image. However, the texture still looks strange with visible darker lines (Luminance Channel), which is left over from nasty moiré that damaged the texture. As I have stated before, this kind of moiré is impossible to completely remove in Lightroom. The only way to get rid of it completely, is to use a much more complex procedure in Adobe Photoshop. A separate tutorial on moiré removal in Photoshop is coming soon.

If you work with the original RAW file, you can use the above technique with a combination of the down-sampling process in Lightroom to get much better results.

1. Analyze patterns in your images on your camera’s LCD at 100% view – while looking at your images on the camera LCD at 100% view can be very inefficient and time-consuming (especially on the Nikon D800E with its massive 36.3 megapixel images), if you are shooting anything with repeating patterns, you need to know whether there is moiré in your images or not. Looking at the thumbnail on the LCD might not reveal moiré, so you will have to zoom in to see it. Very strong / nasty moiré might be visible even at 50% view or less, while you will only spot mild moiré at 100% pixel level view. If you see moiré and want to avoid it, proceed to step #2 below.
   Quick useful tip: if you own an advanced Nikon DSLR like Nikon D300s or higher, you can set the multi-selector center button on the back of the camera to instantly show 100% view without having to press the zoom button several times. You have to enable this feature here: Custom Settings Menu->Controls->Multi selector center button->Playback mode->Zoom on/off->High magnification. Once set, you will be able to zoom in to your images at 100% by simply pressing this button in playback mode.
2. Change camera to subject distance or adjust focal length – if moiré is visible in your image, the best thing you can do is change the distance to your subject. You can either physically move closer or away from your subject, or you can zoom in/out with your lens. Remember, moiré only happens when the pattern you are photographing exceeds sensor resolution, so all you have to do is move to a safer distance. Sometimes this means moving just inches away from your subject.
3. Adjust focus to a different area – while this is not always practical, adjusting the focus a little away from the patterns will remove moiré.
4. Change the angle of the camera – simply changing the angle of the camera a little can completely eliminate even very strong moiré patterns.
5. Stop down the lens to f/11-f/16 – when lenses are stopped down beyond a certain aperture (depending on the lens and the sensor size), an optical phenomenon known as “diffraction” kicks in. Diffraction effectively reduces resolution, which also eliminates moiré. While I would personally avoid doing this, if you cannot change your subject to camera distance or adjust your focal length for whatever reason, this technique surely works.

If you did not do any of the above and ended up with an image that has visible moiré, then your only option is to try to fix it in post-processing.

Preliminary analysis: the high ISO samples look really good. As expected, there is some noticeable noise at very high ISOs (see the ISO 25600 sample). But judging from what I am seeing, it looks like the noise levels are really good compared to what Nikon D700 produces. Down-sampled to 12 MP, the images look stunning (see the down-sampled versions below). Please note that the below images are JPEG, straight out of the camera. No noise-reduction has been applied and no image conversion took place.

If you have not yet pre-ordered the Nikon D800, now is the time to do it!

Link to download the image | Downsampled to 12 MP | Shutter Speed: 1/250, Aperture: f/1.8, ISO: 800
Photographer: Victor Zaykovskiy

Link to download the image | Downsampled to 12 MP | Shutter Speed: 1/320, Aperture: f/5.0, ISO: 6400
Photographer: Victor Zaykovskiy

Link to download the image | Downsampled to 12 MP | Shutter Speed: 1/3200, Aperture: f/2.2, ISO: 3200
Photographer: Victor Zaykovskiy

Link to download the image | Downsampled to 12 MP | Shutter Speed: 1/8000, Aperture: f/3.5, ISO: 25600
Photographer: Victor Zaykovskiy

Link to download the image | Shutter Speed: 1/160, Aperture: f/1.8, ISO: 100
Photographer: Victor Zaykovskiy

Compare the down-sampled versions of the above images to Nikon D700 High ISO Samples. The down-sampled version of the ISO 25600 shot looks way better than what the Nikon D700 produces!

Please note that the above shots are from a pre-production Nikon D800 camera. The image output might be even better with a production version of the camera.

All images were shot with the Nikon 50mm f/1.8G lens.

All images copyright Ferra.ru.

Now about that low-pass filter on the Nikon D800E – both the D800 and the D800E have low-pass filters, but they behave differently. Typical Nikon low-pass filters actually contain of 3 different layers, as shown on the top illustration below:

As light rays reach the first “horizontal low-pass filter”, they get split in two, horizontally. Next, they go through an infrared absorption filter (illustrated in green color). After that, the light rays go through the “second vertical low-pass filter”, which further splits the light rays vertically. This light ray conversion process essentially causes blurring of the details.

Now with the Nikon D800E model, Nikon took an interesting approach. We know that the full low-pass filter cannot be completely removed, because it would cause the focal plane to move as well; plus, the camera still needs to be able to reflect infrared light rays. Instead of making a single filter with one layer, Nikon decided to still use three layers, but with two layers canceling each other out. As light rays get split into two with a vertical low-pass filter, then through the IR absorption filter, those same light rays get converged back when passing through a reversed vertical low-pass filter. Hence, instead of getting blurred details as in the first illustration, we get the full resolution.

I am not sure if the above method is the best way to deal with the issue, but I suspect that Nikon decided to take this route for cost reasons. It would probably be more expensive to produce a single IR absorption filter layer coated on both sides, than continue to use the same layers, but in a different configuration.

The above information will be added to my Nikon D800 vs D800E article I posted last night.

Please note that neither B&H, nor Adorama will charge your credit card until the camera ships.

1. B&H Photo Video – Nikon D800 for $2,999
2. B&H Photo Video – Nikon D800E for $3,299
3. Adorama – Nikon D800 for $2,999
4. Adorama – Nikon D800E for $3,299
5. Ritz Camera – Nikon D800 for $2,999
6. Ritz Camera – Nikon D800E for $3,299

Warning: You might get infected with NAS (Nikon Acquisition Syndrome) once you see the below images in full resolution!

Please keep in mind that the below images are taken in RAW and simply converted to JPEG via Capture NX 2. No other editing has been done, including sharpening!

Link to download the image | Shutter Speed: 1/80, Aperture: f/8, ISO: 100, Lens: Nikon 45mm f/2.8D PC-E
Photographer: Shinichi Sato

Link to download the image | Shutter Speed: 1/80, Aperture: f/8, ISO: 100, Lens: Nikon 24-70mm f/2.8G
Photographer: Shinichi Sato

Link to download the image | Shutter Speed: 1/250, Aperture: f/8, ISO: 100, Lens: Nikon 50mm f/1.4G
Photographer: Muga Miyahara

Link to download the image | Shutter Speed: 1/400, Aperture: f/8, ISO: 200, Lens: Nikon 24-70mm f/2.8G
Photographer: Toshiya Hagihara

Link to download the image | Shutter Speed: 1.3s, Aperture: f/8, ISO: 200, Lens: Nikon 24-70mm f/2.8G
Photographer: Toshiya Hagihara

Link to download the image | Shutter Speed: 1/400, Aperture: f/8, ISO: 100, Lens: Nikon 70-200mm f/2.8G VR
Photographer: Toshiya Hagihara

Link to download the image | Shutter Speed: 1/125, Aperture: f/8, ISO: 100, Lens: Nikon 70-200mm f/2.8G VR
Photographer: Toshiya Hagihara

All images copyright of Nikon.com

Warning: You might get infected with NAS (Nikon Acquisition Syndrome) once you see the below images in full resolution!

Please keep in mind that the below images are taken in RAW and simply converted to JPEG via Capture NX 2. No other editing has been done, including sharpening!

Link to download the image | Shutter Speed: 1s, Aperture: f/8, ISO: 100, Lens: Nikon 14-24mm f/2.8G
Photographer: Benjamin Antony Monn

Link to download the image | Shutter Speed: 1/200, Aperture: f/4.5, ISO: 640, Lens: Nikon 70-200mm f/2.8G VR
Photographer: Cliff Mautner

Link to download the image | Shutter Speed: 1/15, Aperture: f/8, ISO: 100, Lens: Nikon 70-200mm f/2.8G VR
Photographer: Jim Brandenburg

Link to download the image | Shutter Speed: 1/200, Aperture: f/8, ISO: 100, Lens: Nikon 24-70mm f/2.8G
Photographer: Rob Van Petten

Link to download the image | Shutter Speed: 1/400, Aperture: f/8, ISO: 320, Lens: Nikon 14-24mm f/2.8G
Photographer: Jim Brandenburg

Link to download the image | Shutter Speed: 1/2, Aperture: f/8, ISO: 100, Lens: Nikon 14-24mm f/2.8G
Photographer: Benjamin Antony Monn

Link to download the image | Shutter Speed: 1/200, Aperture: f/10, ISO: 100, Lens: Nikon 70-200mm f/2.8G VR
Photographer: Rob Van Petten

All images copyright of Nikon.com

Both cameras are identical, except for one major difference, which is why there is a price difference: the Nikon D800 has an anti-alising filter, while the Nikon D800E does not. In short, an anti-aliasing filter effectively removes Moiré (see below on what Moiré is), so the Nikon D800 will not have any problems with it, while the Nikon D800E cannot deal with it, so you will have to deal with it in post-processing.

What is Moiré?

Moiré pattern occurs when a scene or an object that is being photographed contains repetitive details (such as lines, dots, etc) that exceed the sensor resolution. As a result, the camera produces a strange-looking wavy pattern as seen below:

(Image courtesy of photo.net)

See how noticeable the moiré pattern is on the jacket? That’s moiré for you, at its worst. Moiré is almost never seen in nature, but is very common in everyday objects and items around us – you might see it in all kinds of fabric, straight hair, architecture, etc. You might have even seen it on your television. In photography, moiré happens mostly because of the way light reaches the sensor and how the sensor interprets the light through the bayer interpolation filter.

While there are methods to effectively reduce moiré, there is no easy way to completely remove it in post-processing software. Lightroom 4 will ship with a moiré reduction tool and Nikon will also ship its next version of Capture NX with built-in moiré reduction functionality, but neither one will be able to fully get rid of the worst moiré pattern occurrences.

Here is a real comparison between the Nikon D800 and D800E, which clearly shows Moiré on the Nikon D800E (Image courtesy of Nikon):

What is an anti-aliasing filter?

An anti-aliasing filter, also known as a “low-pass” or “blur” filter, was designed by camera manufacturers to eliminate the problem of moiré by blurring what actually reaches the sensor. While extreme details are lost in the process, the problem of moiré is completely resolved. Since most cameras are designed to be used for day-to-day photography, where moiré pattern is very common, most cameras on the market today use an anti-aliasing filter. While this surely benefits most photographers out there, it is a big blow on landscape photographers that never see moiré and yet end up with blurred details. Because of this problem, some companies on the market started specializing in removing the AA filter from modern DSLR cameras, specifically targeting landscape photographers. Most digital medium-format and some high-end cameras do not have an AA filter, because they want to deliver the best performance from their sensors. While those cameras are affected by moiré, manufacturers leave it up to the photographer to decide on how to avoid it or deal with it in post-processing.

Both the D800 and the D800E have low-pass filters, but they behave differently. Typical Nikon low-pass filters actually contain of 3 different layers, as shown on the top illustration below:

As light rays reach the first “horizontal low-pass filter”, they get split in two, horizontally. Next, they go through an infrared absorption filter (illustrated in green color). After that, the light rays go through the “second vertical low-pass filter”, which further splits the light rays vertically. This light ray conversion process essentially causes blurring of the details.

Now with the Nikon D800E model, Nikon took an interesting approach. We know that the full low-pass filter cannot be completely removed, because it would cause the focal plane to move; plus, the camera still needs to be able to reflect infrared light rays. Instead of making a single filter with one layer, Nikon decided to still use three layers, but with two layers canceling each other out. As light rays get split into two with a vertical low-pass filter, then through the IR absorption filter, those same light rays get converged back when passing through a reversed vertical low-pass filter. Hence, instead of getting blurred details as in the first illustration, we get the full resolution.

I am not sure if the above method is the best way to deal with the issue, but I suspect that Nikon decided to take this route for cost reasons. It would probably be more expensive to produce a single IR absorption filter layer coated on both sides, than continue to use the same layers, but in a different configuration.

Here is a sharpness comparison between the Nikon D800 and D800E (Image courtesy of Nikon):

Nikon D800 vs D800E – which one to get

Nikon is now giving us the option to choose between two versions of the Nikon D800 camera – the regular model, D800, which has an AA filter, and the D800E that has no AA filter. So, which one should you buy? If you are a portrait/fashion/studio/architectural/bird photographer, then get the Nikon D800 – you would be better off with an AA filter. If you are a landscape or a macro photographer, then you should get the Nikon D800E to get the maximum detail out of the high-quality 36.3 MP sensor.

Here is the official video:

Below are the links with all the latest information:

1. Nikon D800 NikonUSA Page
2. Nikon D800 Official Product Information
3. Nikon D800 Brochure (PDF File)
4. Nikon D800 Sample Images
5. Nikon D800E Sample Images

Official Nikon D800 Announcement from NikonUSA.com:

A new Nikon FX-format digital SLR camera with the world’s highest effective pixel count–36.3-million pixels–for noteworthy definition and image quality

TOKYO – Nikon Corporation is pleased to announce the release of the Nikon D800 FX-format digital SLR camera. The D800 offers the world’s highest* effective pixel count of 36.3-million pixels, and is equipped with the new EXPEED 3 image-processing engine and a 91K-pixel (approximately 91,000 pixels) RGB sensor for overwhelming definition and image quality. Nikon will be exhibiting the D800 at the CP+ CAMERA & PHOTO IMAGIING SHOW, to be held Thursday, February 9 through Sunday, February 12 in Yokohama, Japan. This exhibition is open to the public.

*Among interchangeable lens digital SLR cameras equipped with image sensors conforming to the 35-mm film size as of February 7, 2012

The D800, a new FX-format model offers an noteworthy effective pixel count of 36.3-million pixels. At its core is superior image quality equal to that achieved with medium-format digital cameras. The D800 is also equipped with a number of new functions for a high level of added value, all in a compact and lightweight body.

In addition to a new Nikon FX-format CMOS image sensor and the new EXPEED 3 image-processing engine, specifically optimized for Nikon digital SLR cameras, the D800 is equipped with a new 91K-pixel (approximately 91,000 pixels) RGB sensor that supports the Advanced Scene Recognition System with its noteworthy advances in scene recognition performance. The camera is also equipped with a number of new functions, including Multi-area mode Full HD D-Movie that enables movie recording using either the FX-based movie format or the DX-based movie format.

For users who demand an even greater sense of definition, Nikon also releases the D800E, a model that offers increased resolution for images with more dimension.

D800 Development Background

Reflecting Nikon’s efforts to respond to a number of demands, including those for a higher pixel count, better image quality, and a smaller and lighter camera, the D800 is a digital SLR camera developed to capture still images with the superior resolution and record movies with the true high-definition picture quality demanded not only by advanced amateur photographers but also by professionals.

Nikon is responding to the needs of users who demand more from photographs and movies with the recently announced D4, a flagship model that combines excellent definition and image quality with superior high-speed performance, and the D800, a model that offers the ultimate in resolution demanded for nature and studio photography.

D800 Primary Features

1. New Nikon FX-format CMOS image sensor
   The D800 is equipped with a new Nikon FX-format CMOS image sensor and the new EXPEED 3 image-processing engine for Nikon digital SLR cameras. This new image-processing engine is faster and offers greater performance. The camera also offers the world’s highest* effective pixel count of 36.3-million pixels. When combined with the sharp rendering of NIKKOR lenses, images exhibiting resolution equal to that achieved with medium-format digital cameras are possible.

   The D800 also responds to the demands of professional photographers with a standard sensitivity range of ISO 100–6400, and additional support for equivalents of ISO 50 (Lo 1) and up to ISO 25600 (Hi 2), for superior image and picture quality in dimly lit situations, such as just before sunrise and just after sunset, with shooting of still images as well as movie recording.

   *Among interchangeable lens digital SLR cameras equipped with image sensors conforming to the 35-mm film size as of February 7, 2012

2. New 91K-pixel RGB sensor for the more accurate Advanced Scene Recognition System
   The D800 is equipped with a new 91K-pixel (approximately 91,000 pixels) RGB sensor. When a human face is detected in the frame, 3D Color Matrix Metering III bases exposure control on the brightness of that face so that the face is optimally exposed even with backlighting. In addition, the superior resolution of the metering sensor, which makes full use of an incredible 91,000 pixels, enables extremely precise analysis of the scene for more accurate control over autofocusing, auto exposure, i-TTL flash control, and auto white balance.

   *There is no display in the viewfinder that shows when a face or faces have been recognized.

3. Multi-area mode Full HD D-Movie for movie recording using one of two movie formats
   The D800 records movies exhibiting superior resolution with optimal processing of information acquired from the 36.3-million pixel image sensor. Recording of 1920 x 1080p/30-fps full-HD movies is supported, and users can choose to record using the FX-based movie format or the DX-based movie format according to recording conditions. The FX-based movie format offers a shallow depth-of-field with an emphasis on blur characteristics while the DX-based movie format enables recording of movies that bring subjects closer when lenses with short focal lengths are used. The D800 is also equipped with a headphone jack and supports precise adjustment of microphone sensitivity. In addition, it supports simultaneous display of movies or the movie live view display in the camera monitor and on an external monitor. Further, the D800 responds to the needs of professionals who require uncompressed movie files with the ability to record movies directly to an external HDMI recorder in movie live view mode. The D800 also offers a time-lapse photography function that captures images at a selected interval and then combines the images to create a time-lapse movie that shows the changes in a particular scene that occur over time.
4. Viewfinder frame coverage of approximately 100% (*1) and a lightweight and durable water- and dust-resistant body
   The viewfinder built into the D800 supports a frame coverage of approximately 100%*1 and magnification of approximately 0.7x(*2). Adoption of a magnesium alloy for the body gives the camera the same level of durability as the D700 with a weight approximately 10% less.

   *1 With FX-format image area
   *2 With 50-mm f/1.4 lens at infinity, -1.0 m-1

5. Support for high-speed continuous shooting and a variety of battery types with the Multi-Power Battery Pack MB-D12 (optional)
   The MB-D12 supports the Rechargeable Li-ion Batteries EN-EL15 and EN-EL18, common AA batteries, and the AC Adapter EH-5a/b (with Power Connector EP-5B). When the MB-D12 is mounted on the D800, high-speed continuous shooting at approximately 6 fps* using the DX-format image area is possible. The MB-D12 also offers the added convenience of controls, including shutter-release button, AF-ON button and multi-selector, for vertical shooting. What’s more, the same seals as those used for the D800 with its magnesium body offer superior resistance to dust and water.

   *When powered by the AC adapter, or AA batteries or Rechargeable Li-ion Battery EN-EL18 with the MB-D12. Measured according to CIPA guidelines.

6. Other D800 Functions and Features
   A 51-point AF system for improved subject acquisition and focus performance under dim lighting. In addition, 11 focus points (five at center with an addition three to each side) are fully functional when lenses with a maximum aperture of f/8 are used.
   A 3.2-inch, approximately 921k-dot LCD monitor with reinforced glass, automatic monitor brightness control, and wide viewing angle
   A virtual horizon that shows the degree to which the camera is tilted sideways (roll), or forward or backward (pitch) with display in the monitor and viewfinder
   A new shutter unit that has passed testing for 200,000 cycles and supports a maximum shutter speed of 1/8000 s and flash sync speed of 1/250 s
   Continuous shooting at 4 (FX-format/5 : 4 image area) or 5 (DX-format/1.2x image area) fps*
   *When powered by a Rechargeable Li-ion Battery EN-EL15
   CompactFlash and SD dual memory card slots
   Support for SuperSpeed USB (USB 3.0)

The D800E with specifications for even greater resolution with an effective pixel count of 36.3-million pixels

In-camera disabling of the aliasing and moiré pattern reduction operation performed by the optical low-pass filter built into the D800E allows light passing through a NIKKOR lens to strike photodiodes directly for even greater resolution. This makes this model optimal for landscape and artistic photography with which higher resolution and clear definition is demanded. With the exception of the modification indicated above, all other functions and characteristics are the same as with the D800.

* Aliasing and moiré patterns may be more noticeable in images captured with the D800E with some subjects, scenes or shooting conditions.
* Optical low-pass filter IR coating and anti-reflection coating performance is the same with both the D800 and the D800E.

This is phenomenal news, because Nikon is giving us one heck of a camera at the same price as the Nikon D700 when it was announced! Expect this camera to sell like crazy, so make sure to pre-order it as soon as possible. Pre-order links will be posted as soon as they become available! At this price, the Nikon D800 will be in huge demand and you might not be able to get one for a while.